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Studio Roosegaarde is the social design lab of Dutch artist and innovator Daan Roosegaarde. Together with his team of designers and engineers Roosegaarde creates 'Landscapes of the Future' for a better world. The studio connects people, technology and space to improve daily life in urban environments and spark imagination.

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In 1889, inspired by a famous astronomical drawing that had been circulating in Europe for four decades, Vincent van Gogh (March 30, 1853-July 29, 1890) painted his iconic masterpiece "The Starry Night," one of the most recognized and reproduced images in the history of art. At the peak of his lifelong struggle with mental illness, he created the legendary painting while staying at the mental asylum into which he had voluntarily checked himself after mutilating his own ear.

But more than a masterwork of art, Van Gogh's painting turns out to hold astounding clues to understanding some of the most mysterious workings of science.

This fascinating short animation from TED-Ed and Natalya St. Clair, author of The Art of Mental Calculation, explores how "The Starry Night" sheds light on the concept of turbulent flow in fluid dynamics, one of the most complex ideas to explain mathematically and among the hardest for the human mind to grasp. From why the brain's perception of light and motion makes us see Impressionist works as flickering, to how a Russian mathematician's theory explains Jupiter's bright red spot, to what the Hubble Space Telescope has to do with Van Gogh's psychotic episodes, this mind-bending tour de force ties art, science, and mental health together through the astonishing interplay between physical and psychic turbulence.

Van Gogh and other Impressionists represented light in a different way than their predecessors, seeming to capture its motion, for instance, across sun-dappled waters, or here in star light that twinkles and melts through milky waves of blue night sky.

The effect is caused by luminance, the intensity of the light in the colors on the canvas. The more primitive part of our visual cortex - which sees light contrast and motion, but not color - will blend two differently colored areas together if they have the same luminance. But our brains primate subdivision will see the contrasting colors without blending. With these two interpretations happening at once, the light in many Impressionist works seems to pulse, flicker and radiate oddly.

That's how this and other Impressionist works use quickly executed prominent brushstrokes to capture something strikingly real about how light moves.

Sixty years later, Russian mathematician Andrey Kolmogorov furthered our mathematical understanding of turbulence when he proposed that energy in a turbulent fluid at length R varies in proportion to the five-thirds power of R. Experimental measurements show Kolmogorov was remarkably close to the way turbulent flow works, although a complete description of turbulence remains one of the unsolved problems in physics.

A turbulent flow is self-similar if there is an energy cascade - in other words, big eddies transfer their energy to smaller eddies, which do likewise at other scales. Examples of this include Jupiter's great red spot, cloud formations and interstellar dust particles.

In 2004, using the Hubble Space Telescope, scientists saw the eddies of a distant cloud of dust and gas around a star, and it reminded them of Van Gogh's "Starry Night." This motivated scientists from Mexico, Spain, and England to study the luminance in Van Gogh's paintings in detail. They discovered that there is a distinct pattern of turbulent fluid structures close to Kolmogorov's equation hidden in many of Van Gogh's paintings.

The researchers digitized the paintings, and measured how brightness varies between any two pixels. From the curves measured for pixel separations, they concluded that paintings from Van Gogh's period of psychotic agitation behave remarkably similar to fluid turbulence. His self-portrait with a pipe, from a calmer period in Van Gogh's life, showed no sign of this correspondence. And neither did other artists' work that seemed equally turbulent at first glance, like Munch's 'The Scream."

While it's too easy to say Van Gogh's turbulent genius enabled him to depict turbulence, it's also far too difficult to accurately express the rousing beauty of the fact that in a period of intense suffering, Van Gogh was somehow able to perceive and represent one of the most supremely difficult concepts nature has ever brought before mankind, and to unite his unique mind's eye with the deepest mysteries of movement, fluid and light.

Complement with Van Gogh on art and the power of love and a peek inside his never-before-revealed sketchbooks.

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The Fluid Dynamics of "The Starry Night": How Vincent Van Gogh's Masterpiece Explains the Scientific Mysteries of Movement and Light

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In 1889, inspired by a famous astronomical drawing that had been circulating in Europe for four decades, Vincent van Gogh (March 30, 1853-July 29, 1890) painted his iconic masterpiece "The Starry Night," one of the most recognized and reproduced images in the history of art.

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Over the last decade, some of the most awe-inspiring images of outer space have appeared in the books of journalist, filmmaker, and photographer Michael Benson. Combing through images produced by space probes as well as terrestrial and satellite telescopes, Benson has collected photos that showcase the sublime beauty of the cosmos.

Benson's latest book, though, is something of a departure. In Cosmigraphics, He surveys the history of humanity's attempts to depict the universe and the Earth. The earliest entry, the Nebra Sky Disc, dates from between 1500 and 2000 BCE. Made of copper and gold, it shows the sun, the moon, and the stars of the Pleiades. "It's a portable device designed to allow the astronomers to measure the solstices," Benson tells Kurt Andersen.
See the Nebra Sky Disc, along with other images from Cosmigraphics, below.
As he searched archives for these images, Benson made some surprising finds. Among many of the beautiful depictions of galaxies made possible by increasingly powerful telescopes was one drawing of the Whirlpool Galaxy by William Parsons. That image, from the mid-19thcentury, created a sensation in the United Kingdom, Benson says. "It made its way into a French book popularizing astronomy by Camille Flammarion, the Carl Sagan of the 19th century." And it bears a striking resemblance to Van Gogh's spiraling stars in "Starry Night." "We believe that drawing led directly to 'Starry Night,' the most famous artistic depiction of the night sky. Either it was in the library of the asylum in the south of France, or he saw it in Paris."

One major theme of the book is the ability of its images' to either accelerate or impede scientific discovery. For example, the astronomer Ptolemy created a map of the solar system with the Earth at the center - an image that was so compelling it held sway for one and a half millennia, until Copernicus placed the Sun at the center of the solar system. But, Benson points out, "if Ptolemy was wrong, maybe it was necessary to have all those reiterations of his design so that Copernicus could react against something."

Vincent Van Gogh drafted this ink-on-paper study in 1889, after his seminal oil painting "Starry Night" was completed. Van Gogh was likely inspired by the nebula M51 (pictured above), which had appeared in a best-selling book on French astronomy.
The caption of this 1888 engraving reads: "A missionary of the Middle Ages recounts that he had found the point where heaven and Earth meet."

Drafted in 1976, this map was the magnum opus of cartographer Marie Tharp and geologist Bruce Heezen. It pictures the newly-charted landscape of Earth's entire ocean floor based on a sonar survey conducted by Tharp and Heezen.

English physician and cosmologist Robert Fludd's depiction of a black void prior to the light of creation, an early rendering of the creation of the universe. The drawing, from 1617, predates Kazimir Malevich's famous "Black Square on a White Ground" by some 300 years.

This story is based on an interview on PRI's Studio 360.

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Was Van Gogh's 'Starry Night' inspired by a scientific drawing?

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Over the last decade, some of the most awe-inspiring images of outer space have appeared in the books of journalist, filmmaker, and photographer Michael Benson. Combing through images produced by space probes as well as terrestrial and satellite telescopes, Benson has collected photos that showcase the sublime beauty of the cosmos.

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Daan Roosegaarde:

Prototyping the future of cities

Daan Roosegaarde, Dutch innovator and Young Global Leader at the World Economic Forum, talks about his passion for prototyping the future of cities and what it means to be a leader in society and design. This interview is featured in Open Manifesto #8, which focuses on the theme 'Change'.

Kevin Finn: Among other things, your work involves art, design, innovation, science, engineering, architecture, business, and politics. So, how do you describe yourself? How do you describe what you do?
Daan Roosegaarde: I'm a maker [laughs]. It's very simple. And most of all, I'm a hunter. I hunt ideas, which is very important. I have an idea in my brain and I become a sort of a solitary prisoner of the imagination. I start hunting the ideas to grab them, to drag them into reality. That's the best way to describe it.

All the things that you mentioned are somehow tools in order to enable that. I'm in the studio with smart people, so you need an entrepreneurial side, you need to work inside the artist to make sure an idea survives in the world we live in. And you need a sort of political agenda to create impact. But I think, most of all, it's the hunting and the capturing of an idea, and then dragging that idea into a better direction.

I started when I was studying Fine Art in 2003. I built one of the first liquid space installations. It was a huge sculpture-eight by four by five meters. I made it with some whizz kids from the The Fine Arts Academy, which was based nearby.

When you entered the space it would become smaller and bigger, with the notion of space reacting to your senses, rather than the sum of walls, door and windows.

We worked on that project for about a year, to a year and a half. When it was launched, it worked for three weeks, and then it died. But that was the first time I realized that I can use technology to bring things alive, where the visitor isn't just an observer but a participant-sort of directly connected to the DNA or the behavior of the artwork itself.

Jumping out of art school I studied a Masters of Architecture, and then worked at [Rem Koolhaas's] OMA, as well as , and some other architectural studios. Around this time, we built the first Dune project, which uses fibers of light that react to the sounds and motion of people. We actually did the first pilot in the Maastunnel, the pedestrian tunnel, in Rotterdam.

That's when I got the studio space with the people I worked with-whom I had paid in 'pizzas' before-and was able to give them a little budget. But we soon realized we would only be up and running for six months and then we'd be broke again, so something had to happen. That's how the studio started.

Well, I've always kept investing in new ideas and new projects. I've always had-how do you say it-a good atmosphere of being surrounded by a good team of people who can pick up things and handle them. Although the team has changed, the people with whom I started with have all left, but there are new people around me now. And that's very important.

I think it was also a time-and it still is a time-when we started to connect this sort of high technology with more social interaction. It was kind of a 'human and the machine' type of research. And we achieved it; we created our own little niche, I think, even with that first museum installation.

Now we're attracting larger landscape type projects; we just got the go-ahead for a project involving a 32 kilometer dike in The Netherlands. That's going to consume the coming five years of our time, which is great.

But it has always been about changing the dream, materializing it, and also feeling the zeitgeist-plugging into it and questioning it. We ask questions like: Why are we shutting down street lights at night? Do we accept pollution? How does a jellyfish emit light underwater without battery or solar panel or an energy bill? We're constantly asking what can we learn from questions like that. It starts with asking questions, and then dragging them into a proposal.

But the impact has grown, and that's also because I refuse to be put in the white cube of a museum, where signs read: "Do not touch." I've always gone outside to public space.

It has always been about changing the dream, materializing it, and also feeling the zeitgeist-plugging into it and questioning it.

No. More than ever there's a desire for new ideas. You can feel that the big corporations, big CEOs-even the ones that have a lot of money-have very few innovative ideas, have very few ideas about the future. This is the role of the designer, or the maker, or the artist. To come up with new ideas, to build them, to work together, and to materialize.

In a way, when we did Sustainable Dance Floor in 2008-harvesting energy from dancing-this was the first time we actually connected design and art with social topics, like energy. Then with Smart Highway, we connected this to mobility, and with the Smog Free Project, we connected it to health.

There is a real desire for creative thinking and creative leadership in this hard capital world, because the old system isn't working anymore. Money is not the most important thing out there anymore, and it's crashing. It's crashing! It's not working, so we need to reinvent, to prototype a new world, and to build it. I think that is the role of creativity.
We're discussing how business is changing. And based on what you've just said, there's a real desire for creative ideas. But do you think there's anything within the design disciplines that needs to change?
I think that, for too long, design has been focused on making another chair, another lamp, another table. With all due respect to my fellow colleagues, we have enough. We have enough of that. Please stop. Stop making them, and designing them.

There are so many problems and potential niches out there which need this creative thinking. You just need to go there and own it, and say: "Hey, I'm an expert in this. I have ideas about this. Look at me trying to make sense of it."

What I notice when I'm at Salone del Mobile in Milan, and events like that, is a lack of curiosity towards the future. I think this is limiting our creative freedom.

I think that, for too long, design has been focused on making another chair, another lamp, another table... we have enough. We have enough of that. Please stop. Stop making them, and designing them.

It's interesting to suggest "we have enough". It strikes me that every developed and developing economy pushes for economic growth. But this insatiable desire-often fueled by political agendas, it must be said-is unsustainable, given our current global issues. Do you foresee a future where constant growth is not a requirement, and might even be frowned upon?

Yeah, but then you have to define what growth is in that way, because the future will not be linear but exponential. That's the difference. For example, let's focus on mobility. If you focus on underground parking places, you can spend all the time, money, and innovation to make the best parking place in the world. It's clean, and it's spacious, and everybody knows where to go-blah, blah, blah! And you can spend all your money in the world on it. That's great! But then the self-driving car comes along and you suddenly become obsolete, or less important, because the car is self-driving. Why does it need an underground parking place?

What I'm trying to say is, things which can be meaningful now, and in which you can invest, which you can grow, might become obsolete because of new technology, because of new ambitions that people have. I think growth should be mostly focused on redefining what is necessary.

What is the true answer? I'm not sure yet. In many ways, it's easy for me: being Dutch, having a Dutch passport, and being able to travel. But when you live in China or India, there is a short term vision due to circumstances. But there must be a way.
Taking into consideration where we live and our circumstances, if we look at what's been happening with the Syrian refugee crisis in Europe, once again it illustrates the impact of an abrupt movement of people across borders as they flee their frightening circumstances...
And we have no idea how to deal with it.
Exactly!
All these politicians have no idea how to position the mass of people. Some share their houses with refugees. It's all great, but is that solving the problem? No, it's just trying to show a sign of empathy.

Oh, Absolutely! Actually, last time in Davos there was an installation of refugees being filmed, and trying to give them a human face as an art installation, so it's definitely a topic there.
Of course, in your own country there was a group who took the Dutch government to court and successfully sued them in relation to an environmental case.
When we spoke in India, we briefly discussed a recent World Economic Forum panel, which included Paul Polman, CEO of Unilever . The panel focused on the role of business and climate change. All four members of the panel agreed that business needs to-and is willing to-play a bigger role in reversing, or stemming, climate change. However, even though they were optimistic, they acknowledged the prediction of a devastating 4 percent increase in temperature, which may only be reduced to 3.5 percent, but it actually needs to be capped at 2 percent. How do you remain optimistic in these circumstances?

[Laughs] I believe we have a duty to be optimistic towards ourselves, towards others. I don't have an answer for that. Sorry, I don't have the obligation. As a maker, the only thing I can do is use all the creativity and energy that I have to come up with new proposals, new ideas, how I want the future to look like and to engage and enable people to create a movement.

[Laughs] It's interesting that you bring up the Smog Free Project , because I read that you were in Beijing and could see from your hotel window the iconic headquarters of the China Central Television , known as the . But then later that week, the now famous Beijing smog had all but obscured the building. I believe it was at that moment, when you couldn't see the building, that you decided to tackle smog, which is a huge, huge issue. Is this how you often decide on pursuing a project, through observation?

There was a big article which mentioned three million people per year die because of air pollution. It's more than AIDS and malaria put together! It's like: "Are you insane? Who decided to do that?" So, as a studio, we vote on what projects we want to tackle-and we agreed to tackle this.

It starts with a personal sadness, or a personal frustration, or a personal interest, and from that I try to shift it, to change it, to reconnect things, with hope-not just as a symbol, but to really engage a different discussion.

This is the first chapter of the book "the solution". [Laughs.] This is what I'm good at. This is my way of observing our world and our reality.

I think the Beijing government realizes more than ever this issue of air pollution. They declared a war on smog four or five years ago. Most of the measurements they're taking-and the actions they're taking-are countering it, including relocating factories to less inhabited areas and encouraging people to cycle, in a world where the car is a status symbol.

I think we should do more, not less. But it's China. In the beginning, when you present your ideas, they don't know you. They haven't seen you before, so they have to get used to you.

Within a political system in every country, there's a risk-avoidance mechanism which pops up and kills innovation. So you need to have laboratories, areas in the city where you can test, where you can experiment, where you can learn, where you can fail, where you can update.

The Netherlands is defining this as Creative Industry, realizing you have to spend money, time, and energy on it to help it mature. I would recommend that every city is more open towards these kinds of new ideas and innovation. It just gives them a chance. Maybe four out of 10 will fail. But you still have six really good new ones. That's also part of innovation.

In a complex world, I think you need both strategies. It's the same when you're in the shower and you want more warm water. To get more warm water, you can add more hot water or you can have less cold water.

I remember at the beginning of the Smart Highway a few years ago, when we were working with a high profile multi-infrastructure company. We didn't know each other that well, and the directors were showing me around.

It actually took us a couple of hours to realize that the word curator in my world is, of course, a moderator, someone who makes an exhibition. But in the infrastructure business world, the word curator means the person who knocks on your door when your company goes bankrupt. [Laughs] That's a curator. When you go broke, they come and do all the costs, and check what you have in stock, and stuff like that.

They were like: "My god, this guy's going bankrupt, and he's actually enjoying it!" We were both Dutch, so if we already had this misunderstanding about one word, then you can imagine doing a several million Euro Research & Development trajectory crunching business, where there isn't a 100 percent guarantee, and you need to fight for it. When you do something new, you need to speak several languages to achieve your goal. Absolutely!

Absolutely.
The way you achieved this is to suggest they can create a place that's 75 percent cleaner than the rest of the city. This creates a powerful incentive for people to clean the whole city. But you're not just stopping there.
Yes. You have technological innovation-the tower-which is a machine which does its thing. And, of course, it's tested and proven. But you also need social innovation to make sure that it changes perceptions. Because if it's just technological innovation people will just rely on that technology, but no real change is made.

[Laughs] But you also need social innovation, something that becomes a part of their emotional values, part of their lifestyle. You need it to infiltrate in that way. The rings and jewelry are a great way to achieve this, but also to just get initial funding.

The concept is very simple: use the waste as fund raising for the actual Smog Free Tower. The first time I explained this to my business developer she was, like: "What are you talking about?" It was like a silent car alarm for her.
[Laughs]
She was, like: "We're going to use the waste, and we're going to make profit, and that's what we're going to use to reduce the waste in the end?' I said: "Exactly!" And it worked-and people got excited about it. You need technological and social impacts to create change. You need them both.

You need technological and social impacts to create change. You need them both.

First of all, your initial comment is absolutely right! I think our desire for beauty-a natural desire for beauty, which everybody has, even the hardcore business people-is the real force that will hopefully save planet Earth from us human beings. [Laughs]

I believe it's in our DNA. In the end, when we really, really, really, really have to make a decision, we'll say: "OK, look. Maybe we shouldn't make these ugly coal factories. Maybe we should just find a new way."

The notion of beauty is really underestimated in a lot of discussions, even in a public forum. But I think it's a true essence of being human. Beauty, in that way, is not decoration, but a very powerful tool, and a powerful dream to reform. So that's one point.

Second: today, technology isn't just jumping out of the screen. It's on our bodies, our clothes, and what we wear. So yes, there will be screens. But we won't be looking at them in the same way, or as much as we do now.

I don't have any children, but if I did and they asked: "Daddy, daddy, what should I study?" First, I would say: "You figure it out for yourself. But if you really want me to give you advice, don't study architecture. Don't study design. Don't even study technology. Study biology or biotechnology, learning from nature, and where can we implement that in a world of today."

It's not just about putting grass on roofs, or planting more trees. It's really about understanding the core principles, for example an anthill, and then looking at ourselves and acknowledging: "Wow, we are a brutal people. Maybe we should find a better way." So now my focus is mostly on that.

It's difficult, because you need a lot of fundamental research. When I think about the cities of the future, that's going to be incredibly important, where we'll grow things rather than just build them.

Secondly, it happens mostly on the American West Coast. The tech industry is waking up and it becomes really powerful when it moves away from blinking LEDs, or just as an effect. For example, when it gets connected to health.

If I have a suit which measures my heartbeat, or how much vitamin A, B, or C I need at that moment, it becomes something that helps me filter information, which gives me a hint or advice about my body. I think that connection will be made in the near future. And it will be incredibly powerful.

To be honest, it depends on the project. There is an increasing focus on intimacy; showing and hinting; and hacking and questioning; and that pushes the discussion, and other people can pick up that idea. They come into contact with that idea and then start doing their own thing with it.

But we are definitely looking for that scaling, and not just for our ego or the money. We need to create impact, so that's straight in the kitchen, as we say.

These projects should be more than just a symbol, or for promoting awareness. Even though that can be great, it's not going to save our ass. We definitely need to do more, so I agree with the criticism.
On the flip side, your email signature includes a striking message: "I believe we should do more, not less, and make modern cities liveable again." That seems to be your beacon, your mission in life.
Yes because I can be surrounded by people with opinions saying: "Do this or do that." That's all great, but I cannot do it alone. I'm tired of opinions. I want proposals. I also need to have leaders who can say: "OK, Daan, this is our problem. This is our budget. This is our question. This is our dream. Go!" And I also need the context to do it in.

How can we organize a system which is more proactive, which is more about capability rather than sitting behind and just giving commands-and needing to be right all the time! This is passive and won't help us, at all. It needs to be social. It can't be like my business developer's initial reaction about the jewellry proposal. It needs to have a proactive mentality. This attitude and mentality is in our studio all the time.

To ensure we achieve it, we intern every senior person who comes to our studio. They get this mentality engraved in their brain. If they disagree, that's fine. I don't care if they're the intern or a senior manager. If you save time and come up with a new proposal yourself, then you're automatically part of the process-as a participant, not as an observer. That's really important to make sure things are done and realized.

It reminds me of [Architecture For Humanity founder] Cameron Sinclair's comment: "People don't fund problems, they fund solutions." This sounds similar for you: if you have an issue with something you're proposing and you don't agree with it, come back with a solution. Come back with something else. From what you're saying, that's ingrained in the culture of...

For sure, that's part of the process in order to speed things up. Why am I traveling around the world like a mad guy? It's because I need to have leaders, or people who take ownership and make that part of the solution instead of the problem. And I'm curious to watch that happen. And in the moment, I really feel it. I talk with them. I can connect with it. That's when new projects start. Things like budget deadlines, etc, come later, but that initial approach is really important.

And we don't always connect with others. For example, with the Smog Free Project tower I had many, many meetings, and nobody wanted to do it, or to spend time, money, or energy on it. The Smog Free Project tower was partly financed by our own studio- is partly financed-because nobody wanted to take the initiative. But now, it's there. Now, everybody is calling us. So you need to take some risk for yourself, as well.
Commitment and risk!
Every good idea has a consequence. Every good dream can be redefined. A lot of innovation is, indeed, focused on one component to do a new thing-but in the old way. It's like your Mom wants to be your Facebook friend. These days, a lot of so-called innovation is defined as doing the same thing but less bad, five percent less worse. For me, this is not innovation. It's just damage control.

These days, a lot of so-called innovation is defined as doing the same thing but less bad, five percent less worse. For me, this is not innovation. It's just damage control.

The true sense of innovation is redefining the purpose. Who you are, what you want and how are we going to do it? And having the guts to question that. That's why I'm giving you the example of the underground parking places. You can make parking places even better than they already are and forget about the self-driving car, seeing it as an issue that pops up somewhere else. But it is hacking your business, it is hacking your existence-and you don't even know about it, or choose not to care.

You need to have a 360 view and as a big corporation, you can do that with good leadership, by teaming up with smaller companies who are more flexible and faster, which speeds up the process.

Most of all, it is about having the curiosity, or just sheer desperation if it helps motivate innovation. I have those kinds of clients who are curious and who are incredibly desperate. I like them both-a lot.
I'll finish on this question: What advice would you offer designers who are interested in changing the world for the better but aren't aware of how to do so, or how to start, or how to achieve a small percentage of what you've done in a relatively short period of time?
I don't know. Just start doing. Just because there is no door doesn't mean there isn't a key. You just start. You go out there. You get annoyed. You get amazed. You get obsessed. You get curious. You come up with proposals and make a prototype.

You think about: "Oh, who should I contact? With whom should I talk? Where should I position this idea to create maximum impact?" Just start talking about it to your friends, to your wife, to your boss, to your fellow colleague and sooner or later, somebody will plug in to that idea. It starts to grow.

Be amazed and drag that amazement into action. That's innovation in a world where we are all more or less connected. I make things, but the making also makes you. There's this interaction between you and world. You should embrace that-and help old lady's on a Sunday evening. That's also amazing.

[Both laughing.]

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Image Credits: Daan Roosegaarde Portrait: Roger Cremers All other images sourced on Studio Roosegaarde website: Sustainable DanceFloor Smog Free Tower Sustainable Highway Smog Free Jewellry
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Biography
Artist and innovator Daan Roosegaarde is internationally known for creating social designs that explore the relation between people, technology and space. His Studio Roosegaarde is the social design lab with his team of designers and engineers based in the Netherlands and Shanghai.

Roosegaarde is a Young Global Leader at the World Economic Forum, in the top 5 of Sustainable Trouw 100 as most influential Dutch green leader, and selected as Talent of the Year 2015 by Kunstweek.

Selected by Forbes and Good 100 as a creative change-maker, Daan Roosegaarde is frequently invited to lecturer at international conferences such as TED, Design Indaba and Kyoorius Designyatra, and TV media guest at De Wereld Draait Door and CNN.

Daan Roosegaarde: Prototyping the future of cities

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Daan Roosegaarde: Prototyping the future of cities - DESIGNerd

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Kevin Finn: Among other things, your work involves art, design, innovation, science, engineering, architecture, business, and politics. So, how do you describe yourself? How do you describe what you do? Daan Roosegaarde: I'm a maker [laughs]. It's very simple. And

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Studio Roosegaarde news, design and interviews | Dezeen

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The latest Studio Roosegaarde news and design plus interviews with Dutch designer Daan Roosegaarde curated by Dezeen

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Studio Roosegaarde is the social design lab of Dutch artist and innovator Daan Roosegaarde. Together with his team of designers and engineers Roosegaarde creates 'Landscapes of the Future' for a better world. The studio connects people, technology and space to improve daily life in urban environments and spark imagination.

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Daan Roosegaarde: A smog vacuum cleaner and other magical city designs

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Daan Roosegaarde uses technology and creative thinking to produce imaginative, earth-friendly designs. He presents his latest projects -- from a bike path in Eindhoven, where he reinterpreted "The Starry Night" to get people thinking about green energy, to Beijing, where he developed a smog vacuum cleaner to purify the air in local parks, to a dance floor that generates electricity to power a DJ booth.